Komok
Komok Blending retro gaming nostalgia with futuristic electronic textures, Komok crafts immersive sonic journeys—this interview explores his vision, experimentation, and the evolving concept behind his project, Protopia. 1. Your latest track blends video game soundtracks, acid house, and psychedelic electronica—what inspired you to fuse these particular influences into one sonic identity?I think a lot of it goes back to growing up in the ’90s. I can still remember the music from 8-bit video games, often more vividly than the games themselves. They had this ability to be simple but still incredibly emotional and immersive.With Protopia, I wanted to reconnect with that feeling and translate it into something more contemporary—to strip things back and commit fully to an electronic language—exploring what I could express using only synths, machines, virtual instruments, and sound design to create something that moves, evolves, and tells a story.When it comes to genre, I don’t really think in terms of labels while I’m making music. That only comes later, when I have to tag it for the music platforms so people can discover it. It’s not a part of the process I enjoy, but it’s kind of unavoidable now—you end up trying to create something unique and new, only to then have to fit it into categories afterwards for the sake of accessibility, it’s kind of funny. 2. The track feels like a “cosmic journey” with a strong build and explosive synth solo. Do you approach composition with a narrative or visual concept in mind?When I write music, I often have a kind of vision in mind, but it’s never fully formed from the beginning—it’s more of a vague, subconscious feeling that develops alongside the track. As the music grows, so does that internal imagery, until it becomes something almost visual. That’s where the idea of “micro-films” comes in. I create visualizers that feel like short trailers—fragments of a larger story that isn’t fully explained. They’re meant to suggest a world, an atmosphere, or a narrative, but leave enough space for the listener to fill in the gaps. The whole album is built around this approach, where each track is essentially a glimpse into a possible—or alternate—world, shaped as much by feeling and atmosphere as by sound. 3. Protopia suggests a futuristic or idealized world—what does that concept mean to you, and how is it reflected across the album?The title Protopia reflects that concept of alternate world, or worlds. It came as a reaction to the world we live in now. I wasn’t interested in imagining a perfect utopia, because that always feels unreachable, and I didn’t want to lean into dystopia either, because in many ways it already feels like we’re experiencing that in real life. What interests me more is the idea of something in between—worlds that are evolving, unstable, still being shaped. Protopia is about progress rather than perfection, about the possibility of change. The word itself refers to “a society that improves gradually over time,” and that’s something I truly (want to) believe in. I see that potential in younger generations—often very young people—doing remarkable things, standing up for the planet, for human rights, sometimes even putting their own lives at risk to push things forward despite everything. That’s something I find incredibly powerful, and I think it’s something we should truly be in awe of—there’s something deeply human(e) about it.The album also draws from inspirations like Vaporwave and the broader Solarpunk movement, especially that idea of a future where technology, nature, and living beings can coexist in a more balanced and sustainable way. So even if these worlds feel a bit distant or speculative, they’re not completely out of reach, or not yet. 4. Your sound is described as bold and unpredictable. How do you balance experimentation with maintaining a cohesive listening experience? To be completely honest, I never approached music-making by thinking about an audience—it’s quite an inward process. I just focus on making something that feels right to me. I’ve spent a lot of time creating music to support other media, and I really enjoy it—it gives you more freedom to experiment, to push to the limit. But this felt different. This felt like something that could stand on its own, something I actually wanted to share as it is. And I think that’s where the cohesion comes from—no matter how varied or unpredictable the tracks might be, they all come from the same place and the same instinct. 5. There’s a nostalgic, almost retro-gaming feel in your music, yet it still sounds forward-thinking. How do you achieve that balance between past and future?It’s not something I consciously plan in advance. My process itself is quite instinctive, and—some might say—a bit chaotic… I tend to work on multiple tracks at the same time, adding things, taking them away, reshaping them until something clicks.The nostalgic side probably comes naturally from those early influences we talked about—the sounds that stayed with me over time. The forward-thinking aspect, on the other hand, comes from the unexpected: combining those influences in new ways, pushing them somewhere unfamiliar, and trying to push them somewhere new.It’s really about that balance between memory, what feels familiar, and experimentation—taking what was already there and reimagining it into something new, something interesting, something that I hope others will resonate with. 6. For listeners discovering your music for the first time, what kind of experience or emotion do you hope they take away from this track and the upcoming album?I think, more than anything, I’d love for people to really pause with it. To take the time to just lie down and listen—fully.It’s something we used to do more naturally, before streaming, when you’d buy a record, a CD, or a cassette and spend time with it, almost learning it by heart. That kind of focused, intentional listening feels a bit lost now, and it’s a precious experience that I really miss.So if there’s one thing I hope people take away, it’s that experience of being immersed—letting the music
Urban Hane
Urban Hane An intimate dive into Urban Hane’s En variant av himlen—exploring identity, isolation, and quiet emotional truths through minimalist, deeply personal songwriting shaped by introspection and rediscovery. 1. “En variant av himlen” feels like a deeply personal and introspective record. Can you tell us more about the emotional and mental space you were in while creating this album? The previous EP, I had done while still living in a family setting that I expected to last, we had small children etc, so I didn’t really reflect that much in the process, just recorded a few song ideas I’d been carrying for a while in the small chunks of time that life allowed, whereas this time around, and for the first time in like a decade, I started having some time to myself to think and I didn’t really recognize who I was anymore. I couldn’t tell if I did the things I did because I still enjoyed doing them or if it was because I just wanted to be a person who enjoyed such things. The best metaphor I have is that it felt as if a membrane had separated me both from myself but also from the rest of the world. I felt very disconnected and I am only slowly starting to regain those relationships. 2. You describe the project as a “private room” inside your head, both creatively and physically through your home production setup. How did working in this isolated, self-contained environment shape the sound and identity of the album?First of all, I hadn’t listened to much new music for a long long time so the sonic universe I was living in was very much the same as I had left it 15 years earlier. I don’t think any of the tracks I used for reference during production were later than from 2005 and most of them being much older favorites from the 70s and 80s, which of course shaped the production a lot. But like said earlier, I needed to reconnect with myself first, and for that I returned to what first drew me into ever making music in the first place. It may sound laced with nostalgia, but this is just where I was during the process. Also, compared to being in a band going into the studio like really rehearsed and prepared, most songs fell into place by just starting to record them and then just see what type of songs they turned out to be. 3. The album explores a world that is both romantic and cynical, where fleeting moments can carry lifelong significance. What draws you to these contrasts, and how do they influence your songwriting?When starting out, I always wanted to write about extraordinary things, extraordinary people, extraordinary places etc but with age and hopefully some gained perspective, I have noticed that the events from my past that I think about the most, both the things I regret almost to the point of panic and the things I am profoundly thankful for, they all felt quite mundane at the time. Some pointless lie I told at some point and that I am still ashamed of, some girl that may or may not have been into me too but I never acted, some ordinary night with friends I’d do anything to experience again. This is where romance really lives, no matter what the world is trying to tell us. Treat your everyday life with the respect it deserves. It’s all you got. 4. The track “Jag är inte blind (I’m not blind)” touches on painful realizations and personal complicity. Was it difficult to confront and translate such honesty into music, and what do you hope listeners take from it? The difficult part was rather on the personal side to accept that responsibility for how I was feeling at the time, in fact for how I had been feeling for many years. What someone actually put me through during a period in my life could only to some extent explain why moving on from it was so hard, whereas the fact that I allowed it for far too long explained it completely. And just for the record, I am not talking about abusive relationships here, no-one deserves that or to feel guilt that it happened to them. But regarding translation, as long as I know what it is that I feel, I have no problem writing about it, and I always assume that if I have felt it, many others have too. I think we are all much less unique then we like to tell ourselves. 5. Your music has been described as minimalist yet emotionally intense, with a distinctly Scandinavian atmosphere. How do you balance restraint and emotional depth in your production and vocal delivery?Well, it is a solo act, so musically it is already there limited to what I can do on my own, and I also try not to overproduce and always only to add elements that are needed for what I’m trying to say. Singing in my Swedish native tongue of course make it stand out a bit, but I think that as a person, I have never really been the large gestures kind of man, so even though I can enjoy other artists e.g screaming parts of the lyrics, I’ve never felt quite myself when trying it out. I think, at least in part, that is a cultural trait too that may contribute to that “Scandinavian” thing. 6. Having been part of bands like Disharmonikerna and POST before focusing on your solo work, how does Urban Hane allow you to express things that perhaps weren’t possible in a band setting?Although in both those bands we all shared some fundamental influences that of course resonate also in what I do solo, there are certain creative advantages not having to consider anyone else in the process and that you are not tied to any one band setting in terms of instrumentation and arrangement. Do I want a song
Angel Tarpov
Angel Tarpov From Vienna’s streets to London’s studios, Angel Tarpov shares the journey behind “Incognito,” revealing raw emotion, artistic evolution, and the defining moment that shaped his identity as a composer. 1. Your journey from busking on the streets of Vienna to composing in London is incredibly evocative—how did those years shape the emotional core of “Incognito”? I believe music evolves just as people do. During my studies, and hustles in Vienna, I was finding my voice. It was a different era—before the TikTok attention span—where people actually stopped to listen. I went through lots of composing, lots of material that never got released. Lots of material that almost no one heard, and quite a few that got exposure. ‘Incognito’ was the defining moment of that journey. It was the point where I stopped playing others’ music and stood firmly as a composer, saying: ‘This is who I am now. 2. “Incognito” is described as a “sonic signature of survival.” Can you dive deeper into the personal experiences and relationships that influenced the track’s theme? Written and recorded in 2020—the year that changed everything—’Incognito’ was born from personal tribulations. I never expected my private struggles to mirror the global atmosphere so closely. The track ends like a door left slightly ajar; a crack of light to see what’s next. It was a moment of pure intuition that feels even more relevant today. 3. You chose a minimalist recording approach to preserve the raw cello texture—what challenges and advantages came with resisting over-production? Today, everything feels overproduced—like using overwhelming filters and Photoshop on a raw human face. I wanted to capture the ‘grit’ and the breathing of the cello. While nothing replaces the intimacy of a live performance, for those listening at home, I wanted the record to feel honest and unmasked. We have the tools to be perfect, but I chose to be real. 4. The track blends cinematic melancholy with modern classical tension. How do you approach balancing traditional composition techniques with a more contemporary, atmospheric sound? For me, the balance begins with a foundation in structural counterpoint and rigorous harmonic development. I’ve always been drawn to the logic of the Baroque and Classical eras—the way a single melodic motif can be transformed through imitation or how a clear, singing line can anchor even the most complex arrangement. I approach the ‘cinematic’ side not as a replacement for these techniques, but as a new way to ‘clothe’ them. While the core of a track might rely on diatonic clarity or thematic variation typical of traditional forms, I use modern atmospheric textures—experimenting with more provocative key changes, or extended cello techniques—to blur the edges. It’s about taking those timeless, tonal foundations and placing them in a sonic space that feels vast and unpredictable. By blending the precision of classical part-writing with the ‘weighted’ silence and industrial grit of contemporary production, I can create tension that feels both ancient and immediate. 5. Having spent a decade performing live, what inspired your current shift toward studio work and film scoring, and how does “Incognito” reflect this transition? It’s not so much a shift as it is an evolution. I still believe the cello is a ‘live’ instrument that needs to be felt up close to experience its raw emotion. However, composing has naturally drawn me into the more closed up atmosphere —a space for rebuilding and re-living a piece. I started cello at age 4, but when I began composing in my teens, my whole musical career approach changed for me. I knew then that this was my life’s dedication. 6. As you aim to establish yourself in the UK film and media scoring industry, what kind of visual projects or collaborations would best match your cello-driven, cinematic style? I am open to any project where the story is central. Whether it’s film scoring or collaborating with other visionaries, I see every well-written piece as its own journey. Being a composer is hard work—it’s a life on the edge—but delivering a piece of music that helps someone find a part of themselves is the ultimate fulfilment. The rest comes and goes; the music remains. Support ANgel Tarpov
ALLEY (the band)
ALLEY (the band) ALLEY (the band) explore love, loss, and escapism on Telling Stories, blending intimate lyricism with cinematic soundscapes in a vulnerable debut that captures emotional contrasts and the beauty of unresolved moments. 1. Telling Stories explores a wide emotional spectrum, from love and loss to escapism—what inspired you to center the EP around these contrasting experiences?The inspiration really came from looking back at different moments that didn’t seem connected at the time, but all ended up feeling like chapters of the same story. Some songs came from very real, grounded experiences, relationships, goodbyes, that sense of holding onto something that’s slipping away. Others leaned more into escapism, almost like creating a world to hide in when reality felt a bit too heavy. 2. The lead single “Watching You Leave” captures a very raw moment of finality in a relationship. Can you tell us about the story or emotions behind this track?“Watching You Leave” came from that very specific moment where everything is already over, but only one party in the relationship accepts the finality of the decision. It’s not explosive or dramatic, it’s quiet… and that’s what makes it hit harder.The idea started with the image of literally watching someone walk away but feeling a sense of regaining your power after being made to feel so weak in the relationship dynamic. That mix of acceptance, helplessness and relief is the emotional core of the track. 3. Your sound blends indie, alternative pop, and rock influences. How have artists like Eliza McLamb, Becca Stevens, and Lucy Dacus shaped your musical identity?As a lyric based band, we are influenced by artists who share that passion. Eliza McLamb has this really intimate, almost conversational way of writing. Her songs feel like you’re reading someone’s journal, nothing is over-polished. It made it more comfortable leaning into quieter, more vulnerable moments in our own songwriting. With Lucy Dacus, there’s a weight and clarity to her writing that feels very grounded, she doesn’t overcomplicate things, but it still cuts deep. That balance of simplicity and emotional impact is something we’re always chasing. La La Land de ALLEY the band 4. Tracks like “La La Land” and “Daytime Drinking” seem to contrast fantasy with harsh reality—was that duality intentional when structuring the EP? Yeah, that contrast was very intentional. Those two tracks almost act like opposite sides of the same coin.“La La Land” leans into escapism, it’s that dreamy, slightly detached headspace where everything feels a bit more cinematic than it really is. It’s about choosing to see things the way you want them to be, even if you know it’s not entirely real. There’s a comfort in that, but also a kind of quiet denial underneath it.“Daytime Drinking,” on the other hand, pulls everything back into reality, but not in a clean or resolved way. It’s messy, a bit self-aware, and sits in that space where you know things aren’t right but you’re not quite ready to fix them. It’s less about escape and more about avoidance.Placing those songs within the EP was a way of showing how people move between those states. You don’t just live in fantasy or reality, you drift between them depending on what you can handle in the moment. Structurally, it helps the EP feel like a cycle rather than a straight line: you escape, you come back down, you try to cope, and sometimes you escape again. 5. The band’s origin story is quite unique and spontaneous. How has that initial connection influenced your chemistry and songwriting process today? That spontaneous start ended up setting the tone for everything that followed. Because there wasn’t this long, calculated build-up, the connection was very instinctive from the beginning, we were just reacting to each other in the moment rather than overthinking where it could go.That’s had a big impact on our chemistry. There’s a level of trust that came quite naturally, where no idea feels too rough or too personal to bring into the room. It means we can move quickly, follow gut instincts, and not get stuck trying to make everything “perfect” before it’s even had a chance to breathe.In terms of songwriting, it’s kept things very collaborative and open. A lot of our songs start from a small, almost throwaway idea, maybe a line, a melody, or even just a feeling and then grow organically because we feel free to push it in different directions. There’s less attachment to “this is my part” or “your part,” and more focus on what serves the song. 6. As this is your debut EP, what do you hope listeners take away from Telling Stories, and how does it represent who ALLEY the band is moving forward?I think more than anything, we want people to feel seen by it. Telling Stories isn’t trying to give answers or tie everything up neatly, it’s about sitting in those in-between moments where things are unresolved, complicated, or even contradictory. If someone hears a line or a feeling in one of the tracks and thinks, “yeah, that’s exactly it,” then it’s done what it’s supposed to do.As a debut, it’s a pretty honest snapshot of who we are right now. It leans into vulnerability, but it’s not afraid of contrast either, sonically or emotionally. That balance between intimacy and experimentation is something we definitely want to keep pushing forward.Going ahead, I think ALLEY the band will always sit in that space between raw storytelling and cinematic atmosphere. This EP kind of lays the foundation: honest lyrics, dynamic sound, and a willingness to explore uncomfortable emotions without dressing them up too much. It’s our statement of arrival, the beginning of our journey. ALLEY (the band) Home
ReeToxA
ReeToxA With “Thrift Shop Dress,” Reetoxa kicks off a vibrant new chapter, blending spontaneity, indie energy, and catchy songwriting into a bold introduction to an ambitious and diverse upcoming album. 1. “Thrift Shop Dress” is your latest single and the first glimpse into your upcoming album. What made this track the perfect introduction to the new era of Reetoxa? It was impossible to pick the first single, but thrift shop dress was the newest song and I thought it was catchy. 2. The song was inspired by a spontaneous moment—seeing someone across the street. Can you tell us more about how that instant turned into a full track so quickly? Well, I grew up and have lived on the south side of Melbourne most of my life. When I released the first album, I met A lot of north side girls so it was building for a while. As I was walking to band rehearsal in Brunswick I saw an impossibly cool girl outside a thrift shop smoking. The song just came hurtling through my subconscious. 3. There’s a sense of immediacy and energy in the way the song came together. Do you often rely on instinct when writing, or was this a unique experience? I write songs in many different ways but my favorite ones are the ones that just appear like magic. 4. Your upcoming album features 26 tracks, which is quite ambitious. How did you approach narrowing it down to “Thrift Shop Dress” as the lead single? I felt thrift shop dress had a good chance of getting on radio, everyone can relate to it. 5. You describe the track as a “fun rocker that explodes from the first note.” What elements were important in capturing that explosive, engaging sound? We wanted it to be Indi but driven. You can easily dance to it. It’s also fun to sing along. 6. What can fans expect from the rest of the album in terms of themes, sound, and overall direction compared to this first single? the album has great variations; there is something for everyone. reetoxa | Instagram, TikTok | Linktree
Jade Barbara
Jade Barbara With “breathe (a little),” Jade Barbara steps into her true artistic identity, blending raw emotion with vibrant dance-pop energy, marking a confident new chapter shaped by clarity, growth, and bold creative vision. 1. “breathe (a little)” feels like a defining moment for you. What makes this track feel like your true debut compared to your previous releases?My past music all felt like experimentation. It was like, I’d write a song, put it to an instrumental, maybe record some harmonies and off it went. ‘Breathe (a little)’ was the first time I leaned back and thought “what do I want this era to stand for and look like?”. It’s lead to me feeling a lot more confident and happier with my release now. 2. The song is inspired by a real-life situation about feeling stuck in a relationship. How did you translate that emotional tension into such an energetic, dance-pop sound?I wanted to embody a character of someone who was ranting about their partner mid night out, someone who’s taking her feelings light hearted and speaking without thinking. It’s like, “Just leave me alone for a second?”. 3. You mentioned refining your vocals over months using Logic Pro. How did working in a more professional production environment shape the final result?It’s crazy how long it took for me to realize, if you want a professional sound, you’ve got to use professional workspaces. It was exciting to learn and experiment in a new DAW for the first time, and work on aspects of a song I didn’t even realize were so beneficial. Jade Barbara · breathe (a little) 4. There are a strong Y2K and pop-rap influence in the track. Which artists or sounds inspired you while creating “breathe (a little)”? I leaned into a lot of incredible artists such as Britney Spears and Jamelia. My friends were surprised to find out that a lot of the adlibs were actually inspired by Michael Jackson too. I really wanted to try my own take on 90s nightclub radio. 5. With your background in dance and performance, how do you plan to bring this song to life on stage during your upcoming live shows in Sydney?There are a lot of good ideas in the making currently, which I cannot reveal yet. But I can say, I’m very excited to take the song to stages. 6. This single seems to mark the beginning of a new chapter for you. What can fans expect next from Jade Barbara in terms of music and artistic direction?Expect more polished music and sounds coming very soon. ‘Breathe (a little)’s contrasting aesthetic between polished visuals and textured sound feels very like me, so I’m excited to explore my identity. https://www.instagram.com/jadebalmagro
Exzenya
Exzenya A revealing conversation with Exzenya, diving into the raw emotions behind “The Fans Applauded,” where stage fright transforms into courage through vulnerability, storytelling, and the powerful connection between artist and audience. 1. “The Fans Applauded” captures a very vulnerable moment before stepping on stage. Can you tell us about the real-life experience or emotion that inspired this song? This song comes directly from my experience with severe stage fright. It’s not just nerves — it’s that full-body panic where you feel completely exposed, like you’re standing there and everything in you just shuts down. It’s that moment where you’re supposed to perform, and instead your mind goes blank, your heart is pounding, and all you can think is, “What if they don’t like me? What if they laugh at me?” There’s almost a “Carrie” feeling to it — like everyone is watching, and in your head it’s “they’re all going to laugh at you.” This is something very personal to me. I’ve never performed before, and the reason I haven’t is because of this exact fear. It’s something that held me back from starting to sing, record, and produce music. This song is really me confronting that moment and imagining what it would take to get through it. 2. The track beautifully transforms fear into courage through the audience’s reaction. How important is that connection between artist and fans in your personal journey? In this song, the courage doesn’t come from me at first — it comes from the audience. The turning point is realizing that the people in front of me aren’t there to tear me down… they’re there because they chose to be there. That shift changes everything. When they start singing along and applauding, it’s no longer just me standing there alone in that fear. It becomes something shared. They’re not watching me struggle — they’re helping carry me through it. And for me, that connection with fans isn’t separate from my journey — it is my journey. They’re everything. They’re the most important part of this. They keep me going. They make my heart happy. They fill me with joy through their encouragement. So in that moment, it’s not just about finding courage — it’s about realizing I’m not alone, and that there are people who genuinely want me to succeed. And that changes everything. 3. Your sound blends soft pop-rock with emotional storytelling. Who are your biggest musical influences, and how have they shaped your style? I’m drawn to artists who are able to be honest in their music — artists who don’t hold back and really let you feel what they’re going through. Artists like Sara Bareilles, Christina Perri, Kelly Clarkson, and P!nk have that ability to take something personal and make it feel universal. When you hear their music, it feels real — like you’re inside the moment with them. For me, I don’t just focus on one type of emotion. I write from the full human experience — the happy moments, the painful ones, the fun, the chaos, the “oops” moments… all of it. I’m really interested in what things feel like from the inside looking out, and also from the outside looking in. So when I write, it’s about capturing those moments as truthfully as possible, not just emotionally, but experientially — and then letting the music bring that to life. 4. Vocally, the song feels very expressive and intimate. How did you approach recording the performance to keep that raw emotion intact? I experience things very visually and emotionally — almost like a movie playing in my head. I see it, I hear it, and I feel it all at the same time. With this song, I pictured that exact moment — being on stage, completely frozen, full of fear, unable to perform or even move. That overwhelming stage fright where everything just stops. And then in my mind, the fans start singing my songs back to me. They’re carrying the lyrics, almost lifting me through the moment. And as they’re doing that, it gives me the strength to keep going. So when I recorded it, I wasn’t just singing — I was following that scene as it unfolded. As the fans start “singing” in that moment, that’s when I begin to find my voice again and start performing. That’s really how I brought the emotion into the vocal — by living that moment as it was happening in my mind. 5. Many listeners—not just performers—can relate to moments of self-doubt. What message do you hope people take away from “The Fans Applauded”? I think the biggest thing is realizing that the fear you feel doesn’t mean you’re not meant to be there. In those moments, it can feel like you’re completely alone — like everyone is watching, and you’re the only one feeling that panic. But that’s not always the reality. Sometimes, there are people around you who are actually there for you, supporting you, even if you don’t see it right away. For me, this song is about that shift — going from feeling completely frozen and alone, to realizing there are people who want you to succeed, who are rooting for you. And sometimes, it’s their belief in you that helps you find your way through. 6. With this release gaining attention, what’s next for you? Are you working on more music, collaborations, or possibly a larger project? I’m continuing to release more music, and each song explores a different part of the human experience — not just one emotion or one perspective, but the full range of what people go through. This release is part of my first album, Story of My Life, which is a 12-song project. The Fans Applauded completes 8 out of the 12 songs, and I’m currently working on the ninth. My goal is to have the full album completed within the next couple of months. At the same time, I’ve already begun releasing music from my second album, Bar
Cheri Lyn
Cheri Lyn In this interview, Cheri Lyn discusses “Selfmade Woman,” a bold anthem of independence, sharing her journey, creative vision, and determination to challenge norms while empowering women to embrace their identity. 1. Your new single “Selfmade Woman” carries a strong message about independence and identity. What personal experiences inspired you to write this empowering song? The experience behind the song is basically building my life as an independent woman and artist. I have two careers: in music and in entrepreneurship. I’ve always loved developing all of my talents. As creative as I am, I also love being intellectual. I realized that the industry often doesn’t appreciate women who think for themselves, and society still tends to disrespect independent women. I wrote this song to empower women to live their lives the way they want and not play small. We are still often expected to be quiet, but those times are over. We are equal. I want women to be proud of who they are, what they’ve achieved, and to know they can become whoever they want to be. 2. In your story, you often faced the question: artist or career woman? How did those expectations shape both your music and your personal journey? When I first entered the music industry in London, one of my tutors told me to leave my “business bitch” off the stage. At the same time, in business, I was often seen as just the artist. I worked my way up without sacrificing any part of myself. Music has always been my heart and passion, but I’ve also always been intellectually driven. Combining both has helped me stand out in both worlds. Now I am an independent artist who is business-savvy and manages herself, and at the same time a creative business woman who thinks outside the box. Embracing all of your talents is the key. Don’t let anyone tell you that you have to choose. 3. Musically, “Selfmade Woman” blends 70s-inspired soul with modern pop elements. What drew you to this particular sound for delivering such a powerful message? The 70s were a revolutionary time for women, with a strong feminist movement fighting for equal rights. Many incredible female artists shaped the music industry during that time — Joni Mitchell, Tina Turner, Stevie Nicks, Donna Summer. I thought: why not bring back the spirit of those powerful women and reclaim our feminine power? The sound of Selfmade Woman is a dedication to that era — inspired by powerful women in pop, rock and soul. 4. You wrote and co-produced the track yourself. How important is creative control for you when shaping a song that reflects such a personal statement? I’m very involved in production. I love experimenting with sounds and creating something new. But what really works well is co-creation. My producer and I know each other very well, and that allows us to become more and more creative together. We enjoy breaking rules, mixing genres and using unexpected sound elements. For Selfmade Woman, we combined soulful 70s-inspired pop with heavy 808s and a lot of female harmonies. We also experimented with many effects to shape the final sound. 5. The song celebrates ambition and encourages women to embrace their achievements without apology. What kind of impact do you hope “Selfmade Woman” will have on listeners? I want people to have fun with this song — but also, in those moments when they feel like playing small, I want them to put on their crown and remember who they are. It’s an anthem for women to fully embrace their capabilities and be proud of themselves. 6. With this release setting such a confident tone, what can fans expect next from you musically and creatively in the near future? I’m currently working on my second album, Business Bitch. It will explore the many prejudices women face in business and success. There’s still this strange reality: women often have to work ten times harder to get recognition, and once they become successful, they are judged ten times more than men. With this album, I want to challenge those narratives and set new standards for women. Cheri Lyn | Instagram, Facebook | Linktree
Indolore
Indolore In this heartfelt interview, Indolore reflects on the deeply personal song “Terry,” sharing stories of friendship, inspiration, and the emotional bond behind this sincere musical tribute. 1. “Terry” feels like a deeply personal musical letter. When did you first feel the need to write this song, and how did it take shape in the studio?This song came to me late at night, sitting on my kitchen floor. As the guitar chords flowed from my fingers, I thought about Terry Reid, his voice, and the strong friendship we had built over time since we first met fifteen years earlier. I felt it was time to express my admiration and affection for him in a song. 2. Your connection with Terry Reid began back in 2008 and evolved into collaborations, live performances, and lasting friendship. Looking back, what was the most decisive moment in that journey for you as an artist?There were several. The first was discovering him by chance in a documentary called ‘Glastonbury Fayre’, where you see him roaring on stage during one of the very first editions of this famous festival. It was a shock. The second was when we met in the studio in Paris a year later. I had written several songs for him. The microphones were turned on and his voice blew everything away. In real life this time. Second shock. And finally, I could mention a third very memorable moment, when we found ourselves backstage at a concert we had given together in London. Exhausted and slightly drunk, I asked him the secret of rock ‘n’ roll. He thought for a moment and revealed it to me… 3. The song was recorded live in the studio with close friends who also shared a bond with Terry. Why was it important for you to capture it that way, rather than build it layer by layer?Oh yeah! I wanted the message to be as authentic as possible. I wanted only my friends who also knew Terry Reid well to take part in the recording, in the hope of capturing their emotions along with mine. That’s why the live studio format was the obvious choice, despite the risks involved. I wanted ‘Terry’ to be born out of a freshness, an indelible sincerity. I’m very happy that we managed to do that, musically, but also visually. 4. You mention that Terry’s health suddenly deteriorated as you were finishing the track. How did that reality influence the emotion and urgency behind completing and sending the song to him? This song expresses my admiration and gratitude for Terry. It was recorded before his health suddenly deteriorated. It was not intended to be a tribute. I wrote it as a letter to a friend who is very much present, whom we are eager to see again. As soon as I heard that he was unwell, I sent him the rough mix of ‘Terry’ to tell him everything I wanted to say, especially that I wanted to work with him again, talk to him about the future, that I wanted to believe in it, and I did believe in it. So did he. 5. Terry Reid has been praised by legends like Aretha Franklin and Graham Nash. Beyond the iconic voice and career, what did Terry teach you personally about music and about life?Terry Reid was loved and admired by the greats, but also by the many anonymous people whose lives were deeply touched by his music. Aretha Franklin was spot on when she said in 1968 (Terry was only 17 at the time!): “There are only three things happening in England right now: The Beatles, The Rolling Stones, and Terry Reid”. Graham Nash was a very close friend of Terry and produced one of his major albums, ‘Seed of Memory’, which I urge you to listen to. Terry taught me not to let myself be overwhelmed by outside noise, to stay true to my own instincts, and to see my projects through to the end, regardless of the response. Imagine my emotion when I recently received, via Annette (Terry’s wife), this incredibly touching message from Graham Nash himself (about my track ‘Terry’): “What a wonderful song in tribute of my dear friend Terry Reid.” 6. “Terry” is the first single from your upcoming EP La Vie Side B. How does this tribute fit within the wider emotional landscape of the new project, and what do you hope listeners will carry with them after hearing it?I now realize that this EP, ‘La Vie Side B’, which follows ‘La Vie Face A’ (my previous EP sung in French), is an expression of my deep gratitude to several people who are part of my extended family. In ‘La Vie Side B’ (to be released in the spring), I mention Terry Reid, but also my beloved grandmother, my own adolescence full of buried dreams, as well as legendary characters and places that I would have loved to have known in their heyday. I hope to reawaken listeners’ forgotten passions when they hear this new music. I would like them to rediscover their Side B, just as I rediscovered mine. Indolore // Singer – Songwriter // Indie music // French artist // Je Rêve D’é and more
Daphne Parker Powell
Daphne Parker Powell Exploring identity, cultural shifts, and authenticity, this interview with Daphne Parker Powell dives into The Death of Cool, its inspirations, collaborations, and the emotional depth shaping its sound. 1. Your new album The Death of Cool explores themes of cultural rebellion, shifting social norms, and the way counterculture eventually becomes mainstream. What inspired the concept behind the album? We live in this wild time, the first generation to be able to communicate and engage with the rest of the world instantly, with social consciousness moving faster than it ever has. It’s all more global and simultaneously more niche. You can find just about any variation on just about anything you’re interested in and connect with other people who share that interest. The problem with a lot of that is how disconnected we end up feeling, how overwhelmed, and how difficult it is to parse what is toxic, fake, or dangerous from what is authentic and loving. And how easy it is to hide behind, to not find your own real self in the flurry of it all. 2. The record was produced by Jimbo Mathus and engineered and mixed by Mike Napolitano. What was it like collaborating with such experienced figures, and how did they shape the final sound of the album? I was a ‘90s teen and the Swing Revival was a huge deal to me. The Squirrel Nut Zippers held a special place in my heart from their first albums. The idea that people could take these old forms and make them so fiery, fun & dancey, in such a down-home way that also felt so polished and perfect was a dream aesthetic. We went with Mike Napolitano for dozens of reasons, starting with how great he is at that exact kind of polish on deep, unusual music forms. Several of Mike’s albums are on my desert island top 10 and when we started to work together, it all clicked so naturally. Working in his and Ani’s studio, surrounded by those instruments was a kind of special as well. Some of the first songs I learned on guitar were Ani’s. Jimbo is a riot to work with, he never rushes, but somehow we managed to get all ten songs tracked but for overdubs in just three days. Not long days either. He doesn’t use a click track, wants everything to be a live as possible. Which was exactly what I’d been hoping to do with these songs. He has so much fun in the studio, and everyone was in high five mode the whole time. 3. The album features musicians connected to the legendary Preservation Hall as well as members of Squirrel Nut Zippers. How did these collaborations influence the musical atmosphere of the record? I probably watched The Mask in movie theaters 8 times and I adored the Royal Crown Revue, told myself that was the kind of band I wanted to work with some day. Fast forward to moving to New Orleans, where the musicians I connected with automatically understood the kind of music I was writing. Some of those were the Zippers and I work with them every chance I get. The mix of technical proficiency and fun is powerful in that group and even when tackling material as dark as some of the songs on this album, we ended up making something incredibly joyful as well. When I first moved to New Orleans, my neighbor told me to go down to Dos Jefes, a little cigar bar on Tchoupitoulas Street, to see a fella by the name of Tom Hook. Said he often has guests sit in on his nights there. So I went down and he was playing with Wendell Brunious. I’ve never been shy, so I put my hat in the ring right away and ended up singing Gershwin with Wendell and Waits with Tom. That friendship grew over time and I got to know Caroline and through my work in Arts Education, I had a chance to work with a bunch of the folks at Preservation Hall. Wendell and Tom came out to play my album release show for The Starter Wife and I knew I wanted him and Caroline on the next project, so I made the invitation and they said they’d be delighted. Caroline’s clarinet on “Scorched Earth & the Flood” might be my favorite sound on the entire record. Wendell said she stayed up into the wee hours of the morning the night before working on it because she really wanted it to be just right. And it was, though I’m sorry it meant he didn’t get much sleep. 4. Sonically, the album blends horn arrangements, upright bass, deep-south electric guitars, and what you describe as “swampy torch folk.” How did you approach creating this distinctive sound palette? I put a lot of my trust in Maestro Jimbo on that one. My live band played on the album and we had been test driving some of the songs out in the Quarter and on Frenchmen Street and pulling in some other horn players from around town. One of Jimbo’s other projects, Creatures of the Southern Wild, came to play at Les Bon Temps Rouler not long before we started working on this album and I heard Kirk Bowie Russell play for the first time. He blew me away, and Jimbo made me promise I was only borrowing him for the session. But that fella ripped his solo on the Death of Cool in ONE TAKE. Like he was possessed. Once the right people were in the room, I knew we couldn’t fail. 5. Several track titles—such as “No Taste for Nostalgia,” “Zeal of the Converted,” and “Object Impermanence”—suggest philosophical or reflective themes. How do your lyrics connect personal experiences with broader cultural observations? My last three albums have been deeply reflective, I think that’s been the arc for me these last years. Growing up with a lot of trauma, violent relationships, and battling cancer several times